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PERMODELLO MODELING 



Designed and made by Mary P. Scovel 


Two La Vallieres and an Electric Light Pull made from “Permodello” and Decorated 

with “Enamelac 3 









PERMODELLO 

MODELING 

A Handbook in the Use of “Permodello,” 
the Permanent Modeling Clay 

BY 

BONNIE E. SNOW 

«r 

AND 

HUGO B. FROEHLICH 

Joint Authors of “The Theory and Practice of Color”, 

“The Industrial Art Text Books”, Etc. 

Illustrated by 

GEORGE W. KOCH 



THE PRANG COMPANY 

NEW YORK Publishers CHICAGO 










COPYRIGHT, 1920 

By BONNIE E. SNOW and HUGO B. FROEHLICH 






The Preface 


T HERE is no more fascinating or educative work than modeling, or 
“thinking with one’s fingers,” as some one has called it. Watching 
the form and design take shape beneath one’s fingers is like being a 
witness at creation. 

From earliest times the educational value of Clay Modeling has 
been recognized, and many efforts have been made to establish it as a per¬ 
manent part of the Art and manual work in our public schools, without 
great success. Water clay was difficult to handle and cracked in drying. 
Wax clays, such as “Modelit,” are valuable for Kindergarten work or in 
making an original model from which a cast is to be made. All modeling 
in wax clay, however, is perishable and articles made from it serve no di¬ 
rectly useful purpose. As a result modeling in wax clays offers no “re¬ 
ward” of achievement and has not become widely popular except as a pas¬ 
time for children. 

The discovery of “Permodello”—the Permanent Modeling Clay—• 
promises to revolutionize modeling. It has already opened up scores of 
delightful problems in Industrial Art, both for the home and the school, 
and new uses for it are constantly being found. “Permodello” looks and 
works like “Modelit” or any good wax clay, but has the unique quality of 
“setting” and becoming as hard as stone when exposed to the air. It does 
not crack or shrink in hardening, and when dry it takes decoration either 
with “Liquid Tempera” colors and a white varnish, or with “Enamelac” 
—the Air-Drying Art Enamel. 

Permodello Modeling has already established itself in hundreds of 
public schools as an essential part of the Art course. The leading Art 
Schools and Colleges have also found it a valuable field for decorative and 
design work and students find a ready market for “Permodello products.” 
The United States Government has made large use of “Permodello” in 
connection with its reconstruction work with soldiers and sailors. Hun¬ 
dreds of Art workers who have formerly done china painting or embroi¬ 
dery in the home have taken up Permodello Modeling with delight and 
profit. The fact that it combines modeling with design and decoration in 
color makes it doubly interesting. 

It is hoped that this Handbook on the subject will stimulate a wider 
interest in this new Art Craft. The authors and publishers will be glad to 
receive photographs of especially beautiful Permodello articles or sugges¬ 
tions for new problems in Permodello Modeling for use in future editions 
of this book. 




The Table of Contents 


PAGE 

Chapter I. How to Use Permodello. 7 

Chapter II Permodello Beads.. . 8 

Chapter III. Permodello Pendants.10 

Chapter IV. Permodello Hat Pins.13 

Chapter V. Permodello La Vallieres.14 

Chapter VI. Permodello Electric Light Pulls . . 20 

Chapter VII. Permodello Paper Weights .... 22 

Chapter VIII. Permodello Trays.25 

Chapter IX. Permodello Dress Ornaments ... 26 

Chapter X. Permodello Hat Ornaments .... 28 

Chapter XI. Permodello Hat Ornaments .... 30 

Chapter XII. Permodello Decorative Stoppers . . 31 

Chapter XIII. Permodello Candlesticks.32 

Chapter XIV. Permodello Powder Box.34 

Chapter XV. Permodello Ink Stand.38 

Chapter XVI. Permodello Belt Ornaments .... 40 
















PERMODELLO MODELING 

CHAPTER I 

HOW TO USE PERMODELLO 

P ERMODELLO” is a trade name for a clay which has been chemi¬ 
cally treated so that it hardens when exposed to the air, and becomes 
like porcelain without being subjected to intense heat. It has all the 
plastic qualities of clay, is finer in grain and does not shrink or crack in 
drying. Therefore, its surface can be decoratively painted in the making 
of beads, pendants, hatpin heads, La Vallieres, and other accessories of 
costume. Permodello should not be used in making vases, jars and other 
utensils whose prime requisite is that they should hold water. Probably 
there is no substitute for firing—a process which presupposes the fusing of 
certain ingredients contained in clay, thus making it impervious to water. 

Objects which are modeled from Permodello are popular with the 
public because they appeal to the universal feminine taste. The things de¬ 
scribed in this book find a ready market, when offered for sale. Beads 
bring from ten to twenty cents apiece. A string of beads will sell at 
seventy-five cents or a dollar. Hatpins sell for a dollar or a dollar and a 
half. La Vallieres attract purchasers who are glad to pay from two to ten 
dollars, according to the elaborateness or individuality of the design. Per¬ 
modello is therefore one of the most practical and interesting of the new 
mediums which Industrial Art has introduced into our art courses, or of¬ 
fered to Arts and Crafts workers. 

Permodello is really a substitute for modeling wax, and is an inven¬ 
tion of necessity. Someone desired a material which would possess the 
plastic qualities of wax, but which would harden without cracking, and thus 
enable the designer to submit a model of his idea, not only in three di¬ 
mensions, but in three dimensions in color, for color can be applied to 
Permodello as easily as to paper or to wood. 

Permodello beads and other decorative objects, when painted, resem¬ 
ble the work of Egyptian and Indian craftsmen, who modeled from clay, 
subjected their forms to intense heat, and afterward painted them, some¬ 
times resorting to a second firing to fix and glaze the colors. 

The possibilities of Permodello modeling are well nigh inexhaustible. 
As a medium for expressing ideas of design it is equal to clay, and because 
it is permanent and can be painted, it is superior to clay. 

The tin can in which Permodello is packed should never be left open, 
and if it is necessary for the worker to leave his task before the model¬ 
ing is completed, a damp cloth should always be laid over the work, to 
prevent the evaporation which results from undue exposure to the air. 









8 


PERMODELLO MODELING 


“Liquid Tempera” colors may be applied to Permodello while it is 
still moist. After the decoration is complete, both paint and Permodello 
must be allowed to dry thoroughly, before the finishing coat of transparent 
varnish or white shellac is applied. This finish protects the painted color. 
Without it the various beads, pendants, hatpins, La Vallieres, etc., would 
not stand the wear and tear of practical use. 

If for any reason “Enamelac” or oil paints are preferred to opaque 
water colors, they may be used with equally good results, provided the 
modeled Permodello is allowed to dry thoroughly before the decoration 
is applied. “Enamelac” is oil paint mixed with varnish. Designs painted 
with it always show a gloss or “shine,” thus presenting nearly the same 
effect as designs painted first with “Liquid Tempera” colors and then var¬ 
nished or shellaced. It is wise to put a finishing coat of varnish, however, 
upon beads or hatpins which have been painted with “Enamelac,” as such 
treatment prolongs the life and durability of the decoration. 

CHAPTER II 

PERMODELLO BEADS 

The making of beads is a simple problem and one that will interest 
all beginners in the art of modeling. The question of age has little to 
do with it. Children of six can model a ball of Permodello and pierce it 
with a wooden toothpick (Figs. 1 and 2), afterward painting it with a 
single bright color. Art students may prefer to model directly on the tooth¬ 
pick, modifying the shapes in great variety, as shown in Figs. 3 to 8. Each 
bead becomes a basis for interesting designs and color. Fig. 9 shows a 
number of suggestions for spherical beads. Strong contrasts of value are 
best. The use of black, white and one intense color has safeguarded many 
a class of students of all ages. Through the use of black and white the 
necessary effect of dark and light is secured, and the color sense is satis¬ 
fied through the use of one intense color. Variety is attained through free¬ 
dom to choose any one color and any arrangement of lines and dots that 
may be preferred. 

The undercoat of color must be dry before another color spot is placed 
upon it. The finished bead, when dried, should receive a coat of varnish. 

Fig. 10 shows a group of cylindric beads. They were modeled upon 
an “axis,” such as a toothpick, a wire nail or a hatpin, and were left until 
partially dry. The axis was then moved freely about to prevent adhesion, 
but was left in the bead as a convenient handle to use when painting. The 
groups shown in Figs. 11 and 12 are modifications of the cylindric forms. 
The resemblance of these beads, painted as they are in bright colors, to 
Venetian, Egyptian and Indian beads, is quite apparent. 

Beads of this kind may be strung on “Chinese cords,” and spaced with 
small glass beads in a great variety of ways. Strings thus made are beau¬ 
tiful in color and design, and add a distinguished touch to an otherwise 
commonplace costume. 




PERMODELLO BEADS 


9 



Fig.! Fig. 2 

A i Inch Ball Th ® Ba\l Becomes 
of Permodello a Bead when Pierced 
wim a Round loom- 
pick 


Fig. 3 Fig. 4 

A Cylindric Bead An Elliptical 

Modelled on a Bead 

Tooth -pick 



Other Forms of Beads 



• • • 














10 


PERMODELLO MODELING 



Fid. 13 • Knotted 
End oF Cord 


Fid. 14 • Knot- 
Imbedded in 
Permodello 



Pig. 15- Permodello 
Modelled about- 
Cord. 


Fid. 16 • Bead 
Modelled on Cord 
with Pendanr - 



Fig. 17* Suggestions For Pendanrs with Rounded Surfaces 



Fig. 18 • Suggestions For Pendants with Flat SurFaces 

CHAPTER III 

PERMODELLO PENDANTS 

Pendants are bead-like forms used to finish the ends of cords. They 
are not pierced for stringing as beads are, but are either modeled directly 
on the cord, or else a wire loop is embedded in the top of the modeled 
form while it is still moist. Figs. 13 to 16 illustrate the former process. 
A knot is tied near the end of a cord, and a lump of Permodello is mod¬ 
eled around it, so that the knot becomes embedded. The form is then 
shaped around knot and cord. An additional bead may be modeled 
above the main shape, as shown in Fig. 16. The pendant is then ready 
for the painted decoration. Fig. 17 shows a group of painted pendants, 
all of which are modifications of cylindric forms. Fig. 18 suggests other 
forms which are begun in the same way but whose shapes have been flat- 
















PERMODELLO PENDANTS 


11 



Prevent Shape 
From Slipping 





FifJ. 25- Cord 
Imbedded and 
the Modelled 
Shape Completed 


E Knot- 
j Imbedded in 
Permodello 


Fiij.24" Cord 
in Position 
For Imbedding 
in Permodello 


Fi^.26-Secondary 
Shapes in Position 
For Modelling 


Knots Imbedded 
in Permodello 



_ _ , a , , , The Lavaliere Decorativefy 

Fid.27* Secondary Fi^.28-Pendants Added Painted with ShowCard 

Snapes Completed to Balance the Design Colors and Varnished 


A page showing the progressive steps in modeling and decorating of a La Valliere 


tened and otherwise modified to secure interest and variety. It is entirely 
permissible to use a modeling tool of some sort in making these different 
forms. A knife blade, an orangewood stick, a toothpick or any other 
simple device can often be used to advantage. 






















12 


PERMODELLO MODELING 



Fi^.30- Suggestions For Lavalieres of Pafnt'ed Permodello 


In decorating beads and pendants, observe that realism is avoided. 
Lines, dots, squares, circles and other geometric forms are employed, 
painted in strong contrasts of color values. Beads and pendants are in¬ 
tended for use as sparkling bits of decoration. They are worn as jewels, 
therefore intense color notes are entirely in keeping with the character of 
the ornament. Here again the safe rule of black, white and one intense 
color will insure brilliancy of effect. 



















PERMODELLO HATPINS 


13 



Pi£. 22 • Su^esh'ons f-or Designs 


are only a few of the hatpin designs possible with Permodello. Each Art worker 
will discover many more 


CHAPTER IV 

PERMODELLO HATPIN HEADS 

From the making of beads and pendants to the modeling of hatpin 
heads is an easy step. Fig. 19 shows the basis of this interesting prob¬ 
lem— a penny hatpin with a black (or white) head. A lump of Per¬ 
modello is pressed around the head, until it is entirely covered (Fig. 20). 
The form is then modeled to any shape desired (Fig. 21). Two designs 
are usually needed in decorating hatpin heads, one for the top and another 
for the sides. Fig. 22 shows a number of suggestions. Note the simplicity 
of the modeled forms. A bright system of lines and dots, painted in strong 
contrasts of color values, keeps the hatpin in place as a jeweled decoration. 

A coat of white varnish keeps the color brilliant and protects the hat¬ 
pin from wear and moisture. 











14 


PERMODELLO MODELING 


CHAPTER V 

PERMODELLO LA VALLIERES 

The La Valliere is a form of necklace. It is really a development of 
the bead and pendant idea. For centuries the women of all nations have 
delighted in hanging strings of jewels about their necks. The La Valliere 
appeals especially to girls of all ages. Quite appropriately, a brilliant spot 
of color should appear at the throat, leading the attention to the face, 

where interest should center. The modeling of La Vallieres is an excel¬ 

lent problem. Chinese cords of strong color and firm texture are best 
adapted to our purpose in designing La Vallieres. A thick, narrow rib¬ 
bon, a braid or trimming cord may be substituted for the Chinese cord if 
this is not available. For one La Valliere about a yard of cord is necessary. 
Knots are tied near the ends of this cord, as shown in Fig. 23. These 
knots are next embedded in the mass of Permodello which is to form the 

main shape in the finished La Valliere. This process results in a loop of 

cord, which is to slip over the head when the La Valliere is completed. Sec¬ 
ondary shapes may be modeled on the cord to support the main shape, and 
pendants are added at the end, to complete the design and to add the neces¬ 
sary element of variety. Figs. 24 to 28 illustrate these steps. Fig. 29 
shows a finished La Valliere in actual size, except for the loop of cord 
which goes around the neck, supporting the decorative shapes. These 
shapes are modeled to a thickness of about three-sixteenths of an inch. 
The designs are painted with “Liquid Tempera” or opaque water colors. 
White varnish is added as a finishing coat. Fig. 30 shows three additional 
designs for La Vallieres. In each there is a dominating spot of interest. 
The pendants are distinctly subordinated. All decorations on pendants, 
both on the subordinate spots and on the main shape, are treated in abso¬ 
lutely flat color tones. The swan shape is flat; the bird shape is flat; the 
flower shape is flat. There is no suggestion of realism anywhere. This is 
a lesson hard to teach to those who have been trained in the old school of 
representative drawing. Representation is not Art. Art lies in the ability 
to use the suggestion which Nature presents so that the result expresses 
one’s own thought and individuality. 

Plate I shows a group of La Vallieres, decorative curtain-pulls and 
hatpins. The curtain-pulls (see the second group in Plate I) were 
modeled in the shape of circular button-molds, and were about two inches 
in diameter. They were flat on one side and slightly rounding on the other. 
Holes were punched in them at the center by piercing the moist clay with 
an orangewood nail cleaner. These forms were painted in pairs—two just 
alike. After they were painted and varnished, the two flat sides were 
placed together and a tightly twisted cord was strung through both holes, 
and knotted. This held the forms in place, and there was no “wrong-side” 
to the “pull.” 

The cord should form one note in the decorative scheme. The use of 
black, white and one intense color (orange, emerald green, blue, violet, red 
or yellow) will ensure a brilliant effect. 





PERMODELLO LA VALLIERES 


15 























16 


PERMODELLO MODELING 



Plate II. The La Valliere at the left has an inset of turquoise matrix 















PERMODELLO LA VALLIERES 


17 


Pendant's Modelfed from Permodello 




Plate III. The La Valliere at the right has an inset of a bit of fabric 







18 


PERMODELLO MODELING 


PERMODELLO LA VALL1ERES WITH INSETS 

A touch of the unusual is often added to a Permodello La Valliere by 
means of an “inset.” A bit of turquoise matrix with its interesting spot¬ 
ting of green-blue and brown was pressed into the pendant shown in the 
left illustration on Plate II. This was done while the clay was still moist. 
A “built-up” rim was modeled around the stone, much as silver or silver 
wire is used when setting stones in hand-made jewelry. This modeled rim 
must be allowed to set before paint is applied, and the color scheme of the 
whole pendant is influenced by the color of the stone. 

In the triangular pendant shown in Plate III another inset was used. 
It was a bit of interesting metal fabric, showing glints of silver, bronze and 
gold. We often see these effects in rare and expensive dress trimmings, 
generally imported from France. The edges of this bit of fabric were 
embedded in Permodello. The three small squares used above and on each 
side of the inset were painted in green enamel, into which a little gold 
paint was streaked. 

Sometimes the interesting Brazilian beetles are set in Permodello. The 
more one works in this exceedingly adaptable medium the greater is the 
variation in treatment that becomes apparent. 



A group of articles made from Permodello by students in the Winnetka, 111. 
High School 






























PERMODELLO LA VALLIERES 


19 





A group of La Vallieres made by Miss Sybil Emerson, Pasadena, Calif. 























PER M ODELLO MODELING 



A group of La Vallieres and Pendants made from Permodello by the students in the 
Winnetka, III., High School 


CHAPTER VI 

ELECTRIC LIGHT PULLS 

A cord and tassel suspended from an electric light fixture is often a 
convenience as well as a decoration. Figs. 1 and 3 (page 21) show Per¬ 
modello beads strung on Chinese cords, with tassels. These tassels may be 
obtained in gorgeous colors—orange, bright green, strong blue, violet, yel¬ 
low, etc. The beads should echo the strong color shown in the tassel, with 
balancing notes of black and white. A knot tied in the cord above and 
below the bead will hold it in place. 

Fig. 2 shows a “home-made” tassel. This may be of wool, silk or cot¬ 
ton, attached to a twisted or knotted cord which matches it in color. The 
painted decoration should repeat in spots the color of the tassel. Black and 
white additions to the painted beads will give sparkle and brilliancy. 

These decorated cords are to be securely tied to the chain by which 
the electric light is operated. 
















PERMODELLO ELECTRIC LIGHT PULLS 


21 



Electric Li^ht* Pulls with Permodello and Tassel Decorat'iorrS' 
















22 


PERMODELLO MODELING 


CHAPTER VII 

PAPER WEIGHTS 

These attractive shapes are modeled like tiles and are capable of receiv¬ 
ing the same kind of decoration. In size, they can be adapted to the needs of 
the user, although a diameter of three and one-half inches is perhaps the 
most convenient. 

To make the circular shape, begin by flattening between the palms a 
mass of clay as large as an egg. Try to press this shape into a uniform 
thickness of about half an inch. To this flattened mass add bits of clay as 
needed, welding each bit thoroughly. Use the clay as dry as possible, but 
if it seems necessary, in order to weld or model the form, dip the fingers 
occasionally in water. If too much water is used the clay becomes sticky 
and must be allowed to dry partially before modeling can be resumed. A 
form that is poorly welded will surely crack. Hence the importance of 
doing well every step of the work, so that disappointment will not wait on 
the finished article. No amount of painted decoration will excuse or con¬ 
ceal imperfect welding or modeling. 

When a flat cake of uniform thickness is obtained, cut out from the 
mass a perfectly circular shape. For this purpose, use a biscuit-cutter, the 
cover of a tin can or any other device that will cut the cake to the desired 
size and shape. Lay the circular shape aside for an hour or two until it has 
“set” so that it can be handled without danger of bending. 

If the sides of the weight are to be beveled, as shown in Fig. 1, a circle 
should be drawn with compasses upon the upper surface of the cake. Its 
circumference should be spaced about one-eighth inch from the outer edge. 
With a pocketknife carefully pare away the cake between the inner circle 
and the outer edge of the bottom of the cake. A table knife dipped in 
water may be used to smooth the bevel and the top surface of the weight 

(Fig. 2). 

For the knob which is attached to the center of the circular weight 
(Fig. 1) roll a ball of clay between the palms of the hands to the desired 
size. Find the exact center of the top of the weight, and moisten it with 
a drop or two of water applied with the finger ends. Weld the ball firmly 
to this moistened center, then model it to the desired shape. 

If opaque water colors are to be used in painting the weight, it will 
not be necessary for the clay to dry thoroughly before the colors are applied. 
If “Enamelac” is to be used, however, the weight must be set aside for at 
least thirty-six hours, or until it is “stone dry.” The undercoat of paint, 
whether in oil or in water color, must be applied and allowed to dry before 
the decorative design is painted. This design, which is to be previouslv 
prepared on paper, may be traced on the painted surface, using carbon 
paper and a hard, sharply pointed lead pencil. Complementary color 
schemes, with additions of black and white, are suitable for these small 
objects. 




PERMODELLO PAPER WEIGHTS 


23 





Fi£.2~ A Lump oF Permodello Flatrened and Smoothed with a Knife 



3~ Cutt'in^ a Scjuare From the Flattened Mass 








24 


PERMODELLO MODELING 



Fi^. 5~* Designs for 1 Circular Paper Wei(JhH 


The rectangular paper weight is modeled and beveled in the same 
way, except that the shape is obtained by cutting the flattened mass with 
a knife, instead of with a tin cutter. Fig. 3 shows the process. A square 
is drawn whose sides are one-eighth of an inch from the top edges of the 
plinth, and the clay is pared away to secure the bevel. 

Figs. 4 and 5 offer additional suggestions for the decoration of square 
and circular paper weights. 












PERMODELLO TRAYS 


25 




Pi^. 1 - Pin-Trays Made oP Permodello 

CHAPTER VIII 

SMALL TRAYS FOR PINS 

Shallow trays of small size, in shapes both round and rectangular, can 
be easily modeled from Permodello. These little trays are useful for pins, 
hairpins, pens, cigar ashes or any other commodity for which a small 
holder is desirable. Their size and shape make them excellent problems 
in constructive and decorative design. In bazaars and sales they are uni¬ 
versally bought, because they are attractive and inexpensive. They should 
be brilliantly painted in strong contrasts of color values. 

Fig. 1 shows two of these finished trays. Fig. 2 shows the circular cake 
that has been modeled and flattened with palms and fingers. An inverted 
Permodello can is used for cutting out the bottom of the tray (Fig. 3). 
Fig. 4 shows a strip or coil of Permodello being set on the edge of the bot¬ 
tom to form the rim. This rim should be welded firmly to the bottom. 
Both rim and bottom should be moistened slightly to aid the process of 
welding them together. If this is not done the parts will separate when 
dry. The finished rim shown in Fig. 5 was allowed to set so that it could 
be handled, and was then beveled in the manner described in the making 
of the circular paper weight. Fig. 6 shows the rectangular tray, its base 
cut with a knife or some other flexible blade from a flattened mass of uni¬ 
form thickness. The rim of this tray should be welded and beveled as in 
the circular tray. 








26 


PERMODELLO MODELING 


Inver red 
Permodello Can 



Pi£. 3 ~ Bottom oP Tray 


Fid. 2. - Method of 
Makind Bottom oP 
Tray 



Fid. 4- -* A Coil oP 

Permodello Set on 
Bottom to Form Rim 



pi^. 5 ~ Rim Welded ho Bottom 
and -Shaped 


Fi^. 6 — Rim on Rectangular Tray 
Built up same as Circular Tray 


Great variety can be used in planning designs and in the choice of 
color schemes for these little trays. Black and white used with one in¬ 
tense color, or with complementary pairs of colors, can be depended upon 
to produce a brilliant effect. The whole surface of the tray is first painted 
with the color selected for the background and allowed to dry. Then the 
design is traced on the painted surface by means of carbon paper. A coat 
of white varnish or shellac should be added when the Permodello and the 
various coats of paint are dry. 

Figs. 7 and 8 (page 27) show other designs for circular and rectangu¬ 
lar pin trays. All work should be brought to a high standard of excellence 
in modeling before paint is applied. To accomplish this, it is quite legiti¬ 
mate to use a pocketknife or other suitable blade in paring away bumps 
or any inaccuracies. 

CHAPTER IX 

HAT AND DRESS ORNAMENTS 

The fashions of the present day make wide use of what the French 
call “bijouterie”—meaning jewel-like trinkets or ornaments which we fre¬ 
quently see attached to hats, coats, gowns, blouses and girdles. Their pur¬ 
pose is to provide accent or a certain “sparkle” to the article thus deco¬ 
rated. In a hat or gown, a too great mass of one tone, be it gray or other¬ 
wise, may be saved from monotony by the application of a bit of bright 
ornament. Permodello lends itself well to the making of such accessories. 
In its plastic state, it may be pierced or cut, either to form elements in the 











PERMODELLO TRAYS 


27 



7~ Designs For Grcular Pin-Tray© 



Pi^. 8~ Design For Rectangular Pin-Tray 


design or to provide openings through which a needle may be passed in 
sewing the ornament on. 

Figs. 1 and 2 show two rectangular ornaments suitable for hat decora¬ 
tions. They are modeled to a thickness of one-eighth or three-sixteenths of 
an inch, in the manner described on page 23. A pocketknife may be used 
in cutting the edges and a table knife, whose blade has been dipped in 
water, may be used to smooth the surface and give it gloss. Holes are 
punched with a toothpick or a nail while the clay is still moist. The 
shapes should be laid aside to set, or even to harden over night. Then 
they should undergo a paring process, which will correct inaccuracies and 
refine the corners and edges. The undercoat of paint is then applied 
and allowed to dry. Then the design is traced on the painted surface, and 
the shapes painted in the desired color scheme. These ornaments, espe- 









28 


PERMODELLO MODELING 




Fi£. 2~ Solid Modelling Painted 


Fi^. 3 “Pierced Modelling Painted 



Fi£.4~Pierced Modelling Fi^. 5~ Pierced Modelling 



Hat" Ornementfe oP Painted Permodello 

dally when they are to be used on hats, should be well protected by a coat 
of varnish. This may be renewed as the surface becomes dulled. 

When certain elements in the design are to be cut out (Figs. 3, 4 and 
5) the main form should be modeled and set aside until it can be handled 
without its being in danger of bending. The design is then traced on. and 
the cutting out process is performed with a sharp pointed knife. After 
this the form is allowed to dry over night. With the pocketknife, further 
paring and cutting is then done, wherever it is necessary to clean out cor¬ 
ners, smooth irregular surfaces or “true up” edges. The tracing of the 
design is now corrected and the shapes are painted in the selected colors. 
Remember that in these pierced designs the fabric upon which the orna¬ 
ment is placed will show through. These color spots must be considered 
in planning the scheme. 

CHAPTER X 

“BUILT UP” HAT ORNAMENTS 

A variation on the flat ornament may be obtained by building up cer¬ 
tain elements, such as a centerpiece or some bead-like projections on or 



















PERMODELLO HAT ORNAMENTS 


29 



|| 


Pi^. 2- Side View 


Fi^.3 

Another Su^estfon 


Pi^. 1 “Top View 



Pi^.4'~A Round Ornament 




Pi^. 5“ An Ova] Ornament-' 
Holes PoriSewin^ 



Pi^.7- Side View 

Builr-up Hat - ' Ornamenrs oF Permodello 


near the margin of the main form. This process has already been ex¬ 
plained in the directions for making the paper weights on page 22. The 
caution given there is here reiterated: Thorough welding must be ac¬ 
complished in joining the parts, to prevent their separation when dry. 
Always moisten the part to be joined and the surface upon which it is to 
be placed, using the finger tips dipped in water for this purpose. 

Figs. 1 and 2 show the top and side views of one of these built up 
ornaments. Fig. 3 shows a slight modification in the modeling of the 
“knob.” Figs. 4 and 5 show the flattened centerpiece on a round and on 
an oval ornament. Figs. 6 and 7 show two views of a hat ornament whose 
edges have been cut or carved, and to whose upper surface some small, 
bead-like spheres have been added. The designs suggest the strong con- 










30 


PERMODELLO MODELING 



Pi£.3~ Su^esHons For Decorative *7?ps 


Cluster Ornaments Builtr-up oF Permodello 

trasts in color values which are always desirable in painting small orna¬ 
ments of this kind. In size, these ornaments may be made to suit the needs 
and the personal taste of the wearer. 

CHAPTER XI 

“CLUSTER" HAT ORNAMENTS 
In ornaments we frequently see bright glass beads or bits of spark¬ 
ling tinsel attached to feather filaments or supported by small vibrating 
wires. These bobbing bits of bright color are most appropriately placed 
upon hats, for there they attract attention to a spot near the face. This 
lure to the face—the mirror of personality—is always legitimate. It is 
part of the psychology of dress. 

Figs. 1 and 2 show a clustered ornament of Permodello. A piece of 
picture wire was separated into its strands, and one of these small threads 
was cut into the required length—about three inches. Each one of these 
lengths was bent at both ends to form a closed loop, as shown in Fig. 3. 
One of these loops was embedded in a small lump of Permodello. It was 
shaped by modeling with the finger ends. A dozen or more of these tips 
were modeled, all as nearly alike in size and form as possible. A founda¬ 
tion or standard having previously been modeled, as described on page 22, 
the remaining looped ends of the wires were inserted in the moist clay. 










PERMODELLO INK BOTTLES 


31 



Pt^. 1 - Ink Bottles with Permodello Stroppers 

This was pressed and welded around the wires to make the setting secure. 
The ornament was then set aside to dry. The painting of the tips and of 
the foundation of the ornament was done at one sitting. Varnish as a finish 
is quite essential to these very Frenchy ornaments. 

Other suggestions for shapes of decorative tips are given in Fig. 3. 

CHAPTER XII 

DECORATIVE STOPPERS FOR INK BOTTLES 

An ordinary cork stopper used in any kind of bottle may easily be 
made into a decorative note for the table or desk upon which it stands. 
Fig. 1 shows two ink bottles, which were commonplace and ordinary in 
the commercial world, but which are here seen transformed and radiant, 
after they have been touched by the magic wand of art. Fig. 2 shows the 
process. Around the head of a one-inch brad, a lump of Permodello has 
been modeled. This lump has been shaped by the fingers until the de¬ 
sired form has been attained. It has been allowed to dry over night and 
then has been subjected to the paring process, previously described. The 
sharp end of the brad (or small finishing nail) was then pushed into the 
center of the cork stopper, which provided also a convenient means of 
holding the Permodello “crown” during the process of painting. To make 
the joining doubly secure a little glue was spread on the bottom of the 
modeled crown and also on the top of the cork. The underlay of opaque 
water color was then applied and allowed to dry. Then the rest of the dec¬ 
oration was painted on, using a small brush. A coat of white varnish was 
added when paint and Permodello were thoroughly dry. 

Figs. 4 and 5 show a few of the many variations of design and color 
which can be worked out in this simple and attractive problem. 








32 


PERMODELLO MODELING 



pi<^. 5*“ More Suggestions Eon DecoraHve Stoppers 


CHAPTER XIII 

SMALL CANDLESTICKS FOR COLORED CANDLES 

These charming little holders for colored candles are a bright addi¬ 
tion to the Christmas dinner table or to the birthday feast. They are made 
to hold candles that are four or five inches long and a little less than a half 
inch in diameter. The trays or bottoms of the holders may be from two 
to three inches in diameter. 

Figs. 1 and 2 show two attractive designs, although there is no limit 
to the number of shapes and sizes in which the small candlesticks can be 
modeled. 

Fig. 3 shows the method of modeling a circular base. A flat mass 
about a quarter-inch thick is to be modeled with the palms and fingers. 
When this mat is seen to be uniformly thick, use an inverted Permodello 
can to cut out a perfectly circular shape (Fig. 4). Roll a coil of Permo¬ 
dello long enough to encircle the mat. Be sure that this coil is of uniform 
size—about a quarter-inch thick—throughout its entire length. Place this 













PERMODELLO CANDLESTICKS 


33 



coil around the edge of the mat so that it does not spread over the edge and 
so add to the diameter of the base. Weld the coil thoroughly to the base, 
and shape it to flare slightly at the top, as shown in Fig. 6. A thick paste 
or “slip,” made by adding water to a small lump of Permodello, is useful 
in accomplishing the complete welding of parts. 

To make the cup or holder for the candle, roll a mass of Permodello 
between the palms to form an elongated oval, as shown in Fig. 7. Scoop 
out an opening from the small end of the oval and insert the candle. 
Leaving the candle in, partly model the cup, suggesting the desired shape 
(Fig. 8). Weld the cup to the center of the base, and finish the modeling 
as shown in Fig. 9. Set the candlestick (with the candle in it) aside to dry 
for an hour or so. Then with an orangewood stick or small wooden model¬ 
ing tool scrape out the depressions on the holder, making the design shown 
in Fig. 1. Remove the little candle and allow the modeling to dry for 








34 


PERMODELLO MODELING 



Tin Can Used 
as Cutrer 


Flattened Mass 
o P Permodello 


Pi^. 3-* Merhod oP Making Bottom pi^4*- Bottom oP Candle Holden 



Pid 6— Rim Welded to 
Disc and Shaped 


Pid.7-Small Candle Fid.8-porm Fid 9-Form 
Set* in an Oval Shaped Parriy Completed 

Lump oP Permodello Modelled 


twenty-four hours; then paint it with any desired tone, using “Enamelac” or 
“Liquid Tempera” colors. The color of the candle should be considered 
when selecting the colors for the candlestick. Black candlesticks with red 
candles, white with green candles, orange with yellow candles are several 
successful combinations. There are many others. A coat of white varnish 
or shellac should be added when the paint is dry. 


CHAPTER XIV 


A POWDER BOX MADE OF PERMODELLO 

This problem involves several interesting operations of modeling. It 
also entails the use of tinners’ shears. It should not be attempted until the 
worker has developed experience in manipulating Permodello through 
the making of some of the “formed-up” articles previously described. When 
successfully completed the powder box is a beautiful example of artistic 
craftsmanship and is worthy of a large investment of time and skill. 














PERMODELLO POWDER BOX 


35 



Pi6.1~ A Powder Box Made oP Permodello 


From a discarded tin can which measures about three inches in diam¬ 
eter, cut with tinners’ shears a collar one and one-half inches in height. 
Fig. 2 shows the marking for the collar on the can and the shears in posi¬ 
tion for cutting the lower edge. When the collar is cut, trim off any sharp 
points or rough edges. The collar should then be slipped over a round 
stick (a curtain pole will answer) or a section of gas pipe, and “formed” by 
means of gentle blows struck with a hammer, until it is perfectly round and 
smooth, as shown in Fig. 3. 

The first use of the collar is in cutting the bottom of the box. Flatten 
a mass of Permodello, making it a quarter-inch thick and somewhat larger 
than the diameter of the collar. With the collar cut out a circular shape 
(Fig. 5). This will exactly fit the circular wall which is to be modeled 
inside the collar. 

Flatten a strip of Permodello, making it about two inches wide, a 
quarter-inch thick and about ten inches long. This strip can be rolled 
with some object such as the Permodello can, until the desired thickness 
and length result. Now spread with the fingers a thin coat of vaseline on 
the inside of the collar. Place the strip of Permodello inside the collar, 
pressing it snugly against the tin at every point. When the ends of the 
strip meet, weld them carefully to make a perfect joining (Fig. 4). There 
must be no overlapping nor any visible seam. With a sharp knife pare 
away any Permodello that may project beyond the collar. It is essential 
to good modeling that all tools should be absolutely clean. Dry particles 





36 


PERMODELLO MODELING 



Fid. E-A 1i" Collar* Git* 
From a 3" "Tin Car. — 



Rd. A ~ Permoolello Modelled 
Inside oF‘"fin Collar ~ 


I 


Pi^.3--The Tin Collar Ready Far* Use 




Fid. 5~ Bott'om Made ho Fil- 
Permodello Collar —* 


of clay from previous modeling should be removed, and the knife or other 
instrument used should be smooth at every point. 

The wall should be left in the tin collar over night, then removed. 
The coat of vaseline makes this easy. With a clean, soft cloth wipe all 
vaseline from the Permodello wall. Your modeled parts should now look 
like Fig. 5. 

Make a thick paste or slip by adding water to a small lump of Permo¬ 
dello. With this, moisten the lower edge of the circular wall, also spread 
the slip evenly near the edge of the bottom. Set the wall on the bottom, 
pressing and turning the parts gently until adhesion takes place. Then by 
using more of the slip, seal any cracks that may appear on either the inside 
or the outside of the box. It is most important that this joining be com¬ 
plete, as otherwise cracks would appear when the modeling is dry. Set 
the box away to dry for twenty-four hours. 

For the cover, prepare a circular disk about three and one-half inches 
in diameter (Fig. 6). Place this disk inside a saucer whose inner surface 
has been rubbed with vaseline. Gently press the Permodello, making it con- 

_ 

































PERMODELLO POWDER BOX 


37 



6— A Flattened Disc 
or- Permodello 



Disc Shaped to Inside 
or Saucer* 



Fid. 8~"TTn Collar Cutfind 
Out- Shape oP Lid 


Fid. 9-Weldind a Coil oF Permodello 
Fo Lid Forming Flange 



Fi£. 10-Flange Completed 



Fi^. II - Knob Welded to "Top oFLid 


form with the shape of the saucer (Fig. 7 ). Set aside to dry for an hour 
or two. With the tin collar, cut a true circle from the Permodello in the 
saucer (Fig. 8). Roll a coil of Permodello, making it a little less than 
a quarter-inch in diameter, and weld it to the inside of the lid to form a 
flange, as shown in Fig. 9. This flange should be set in far enough from 
the edge so that it will fit inside the circular wall of the box (Fig. 10). 
Set the cover (still in the saucer) aside to dry for twenty-four hours. Then 
remove the modeling from the saucer, carefully wiping all vaseline from 
the cover. Form a small knob and place it in the center of the top of the 
lid, applying slip, and thoroughly welding all points of contact (Fig. 11). 

Fit the lid to the box by paring the flange where necessary. Set the 
whole box away until it is thoroughly dry. Should any cracks appear, 
moisten the adjacent surface with water and by gently rubbing in a small 
quantity of slip, fill the crack and smooth the surface around it. 

The powder box should be painted in bright colors with small, jewel¬ 
like designs. The use of black and white, or of dark and light values of 
color will ensure snap and brilliancy. “Enamelac” will make a more dur¬ 
able finish than opaque water colors, and even with this a coat of varnish 
will add permanence to the decoration. 










38 


PERMODELLO MODELING 



pid. 1~ An Ink. Strand. Modelled From Permod&Ilo 
CHAPTER XV 

A DECORATIVE INK STAND 
The actual holder of the ink in this decorative article is a common 
glass inkwell obtained at any commercial stationer’s (Fig. 2). A circular 
disk a quarter-inch thick (Fig. 3) is cut for the bottom of the “stand” or 
vase-shaped form that is modeled to support or conceal the well. Coils 
of Permodello a quarter-inch thick are rolled on a piece of table oil cloth 
or a pane of glass, using the palm of the hand as a roller. This coil should 
be kept of uniform thickness. The building of the wall of the vase is be¬ 
gun by placing the coil on the edge of the circular disk (Fig. 4). Wind the 
coil in a spiral, gently pressing the layers together without disturbing 
their shape. Continue building and shaping the coil until the desired 
form is attained (Fig. 5). A thick paste or slip of Permodello should 
then be spread with the fingers over the inner surface of the vase, repeat¬ 
ing this process on the outside also. Make sure that the shape of the vase 
is symmetrical from all points of view, as it is turned. This will take care¬ 
ful modeling. Set the form aside to dry for twenty-four hours. Then with 
a sharp knife pare the outside (Fig. 6), thus refining the contour and the 
surface. 

Next, roll another coil of Permodello. Moisten the inside of the vase 
near the top. Place the coil on this inner moistened surface and shape it 
to form a flange, whose purpose it is to support the glass inkwell (Fig. 7). 
When dry, cut and trim this flange to make it fit the well. 







PERMODELLO INK STAND 


39 



Fi^. 2-A Glass Ink-well 



Fid.4-Permodeilo Coils.Used in 
Forming Sides of Ink. Strand 



Fid.3 - Grcular Disc For Bottom 
of- Ink SPand 



Fid.5" Coils Welded ft Form 
* Solid Wall 



Fi^.8~ Cover tv Ink. Shsnd 


Fig. 8 shows the flat lid which is modeled and shaped to fit the top 
of the stand. A knob is added by the process previously described. The 
whole inkstand is now permitted to dry. If cracks appear they should be 
closed by rubbing in slip. 

Fig. 1 is a photograph of an inkstand that was decorated with an in¬ 
cised design. The incision was made with an orangewood stick, although 
a small modeling tool especially prepared for such work would have been 
better. Color was applied to the entire inkstand when the design was in¬ 
cised and a heavy coat of white varnish was added last of all. 

_ 


































40 


PERMODELLO MODELING 




Pig.l*- Buckles Made of* Permodello 


CHAPTER XVI 

BELT AND GIRDLE ORNAMENTS 

These ornaments resemble buckles in appearance, though in reality 
they are simply slipped over a girdle or belt, and do not serve to hold the 
ends together. Hence they are for decorative purposes only. 

A belt ornament is subjected to greater wear or strain than a hat orna¬ 
ment, a La Valliere or beads. It should therefore be reinforced by some 
kind of frame upon which the Permodello can be modeled. 

In the ornaments illustrated in Fig. 1, spool wire was bent into the 
required shapes, with reinforcements across the width as shown in Fig. 2. 
Permodello was modeled over this framework to a thickness of a quarter 
inch (Fig. 3). Openings were then cut and shaped, large enough to per- 











PERMODELLO BELT ORNAMENTS 


41 





Pi£. 4- Buckle Completed 


mit the belt or girdle to be drawn through. The work was then set aside 
to dry thoroughly. “Enamelac” was used in applying the color schemes. 

Strong contrasts of color values are desirable in painting all of these 
ornaments. The use of white and black with complementary or analogous 
colors will ensure brilliancy and sparkle. A finishing coat of white var¬ 
nish or shellac is essential to all articles that are subject to rubbing or wear, 
in order to secure the greatest permanence. 

















































































































































“PRANG PRODUCTS” THAT YOU NEED 


43 


PERMODELLO 

“The Permanent Modeling Clay—Works Like Magic” 



Among the many new Art materials originated 
and promoted by The Prang Co. for educational 
purposes during the past 64 years, “Permodello” 
promises to take a high place. It is a Modeling 
Clay that can be kept moist indefinitely, yet which 
sets and becomes as hard as stone when left ex¬ 
posed to the air. 

This new Modeling Clay opens up limitless pos¬ 
sibilities for new Educational and Art problems. 
On exposure to the air, after work is completed, it 
“sets” like concrete and takes decoration with 
“Enamelac” or “Liquid Tempera” colors. Neither 
“Enamelac” nor “Permodello” requires firing. 
“Permodello” is ideal for making jewelry of all 
kinds, including necklaces, lavallieres, pendants, hat 
pins, belt ornaments, curtain pulls, paper weights, 
etc. It does not require special ability to produce 
art objects of use and beauty and having real com¬ 
mercial value, as well as innumerable Art objects. 
Beautiful illustrated circular free. 

Price, per lb. can, 75c; by mail, 85c 


“Permodello Modeling” 

A Handbook for Art Students and Decorators 
By BONNIE SNOW and HUGO B. FROEIILICII 

Gives more than 100 illustrations and explicit 
directions for making beads, pendants, paper 
weights, buckles, trays, ink wells and numerous 
other articles that can be made of “Permodello” 
and decorated with “Enamelac.” These articles 
have commercial value and are in demand because 
of their beauty and novelty. 

Price, $ 1 . 50 ; postpaid, $ 1.60 


ENAMELAC 

The Air-Drying Art Enamel 



“Enamelac” is a new waterproof 'color medium 
that opens many fresh fields for decorative work. 
It is air-drying and consequently requires no firing. 
The colors are opaque and can be applied one over 
the other on metal boxes of all kinds, on Parisian 
Ivory, papier mache, wooden boxes, white china, 
glassware or “Oilette Cloth” to produce Art objects 
of real value. When protected with a coat of 
Prang Shellac, Enamelac will wear indefinitely. 
Made in the following colors: Circular free. 


1 . 

Light Yellow 

8 . 

Dark Red 

15. 

Light Blue- 

2 . 

Yellow 

9. 

Light Blue 


Green 

3. 

Orange 

10 . 

Blue 

16. 

Light Grav 

4. 

Dark Orange 

11 . 

Dark Blue 

17. 

Neutral Gray 

5 . 

Red Orange 

12 . 

Light Green 

18. 

1 )ark Gray 

6 . 

Light Red 

13. 

Green 

19. 

Black 

7. 

Red 

14. 

Dark Green 

20 . 

White 


Price, per 

can, 

$0.30; by 

mail, 

$ 0.35 


ENAMELAC OUTFIT 

The Air-Drying Art Enamel 



Complete Outfit, containing 3 brushes, shellac and 
turpentine, in wooden box. 

Price , S3.50 


THE PRANG COMPANY 30 2 1R YUNG AC^^EW 1 YORK 















































“PRANG PRODUCTS” THAT YOU NEED 


Bateeko Dyes 


For Batik Work and Tie Dyeing 



“Batik Outfit” 


The Prang “Batik Outfit” provides everything 
necessary for making Batik blouses, scarfs, pillow 
covers and all pattern and textile dyeing. The out¬ 
fit is packed in a wooden box, with a knock-down 
frame, 18x8 inches, for stretching the goods while 
dyeing. Price, complete, 8 bottles of dye with 
directions for using, $5.50. 

We also supply “Bateeko Dyes” in powder form 
for refilling the bottles or for professional or home 
dyeing on a large scale. 

IN POWDER FORM 

“Bateeko Dyes” in powder form come in ten 
basic colors, from which numberless combinations 


can be 

made. 



1 . 

Brilliant Scarlet 

6. 

Imperial 

2. 

Red 

7. 

Green 

3. 

Orange 

8. 

Magenta 

4. 

Yellow 

9. 

Black 

5. 

Navy Blue 

10. 

Brown 


Price, 25c per packet 


FIRST LESSONS IN “BATIK” 

Bv Mary C. Scovel, Head of Normal Dept., Art 
Institute of Chicago, and Gertrude C. Lewis, Art 
Teacher, Chicago Public Schools. 

This is the first practical Handbook on “Batik.” 
Profusely illustrated and gives detailed instruc¬ 
tions. Price, $1.50; postpaid, $1.60. 


Tempera Colors 

The Ideal Show-Card Colors 


Prang “Tempera Colors” offer a new color medium 
that is especially suited tor show-card, poster, and 
all decorative design work. We are putting up 
Prang “Tempera” in two ounce jars, in heav> 
paste form. The colors are pure and brilliant and 
very opaque, and can be worked one over another. 
These colors can be thinned with water. The jar 
has a wide mouth and is closed with a quarter- 
turn metal cap that is quickly adjusted. 

Made in twenty colors, as follows: 


Lemon Yellow 

Medium Chrome Yellow 

Orange 

Light Red 

Violet 

Ultramarine 
Prussian Blue 
Light Chrome Green 
Burnt Sienna 
Black 


Chinese White 
Light Chrome Yellow 
Y'ellow Ochre 
Vermilion 
Carmine 
Cobalt Blue 
Cerulean Blue 
Brilliant Green 
Dark Chrome Green 
Burnt Umber 


Price, per jar, 35c 
Send for descriptive circular 


Prang Color Charts 

These Charts are based upon the “Pigment Coloi 
Theory,” which is accepted and followed in all in¬ 


dustrial work. 

Chart I—Primary Colors .$0.25 

Chart II—Binary Colors .25 

Chart III—Normal Colors and Tints.25 

Chart IV—Normal Colors, Tints and Shades.25 

Chart Y r —Complementary Colors and Neutral Gray. .35 

Chart YT—Primary Colors, Binary Colors and Hues, 

Analogous Color Schemes.35 

Chart YUI—Colors in Full Intensity and Grayed 

Colors .35 

Chart Y’lII—Colors in One-half and One-fourth In¬ 
tensities, Monochromatic Color Schemes, Analo¬ 
gous Color Schemes, Complementary Color 

Schemes .45 

Complete Set of Charts I to VIII —Put up in Prang 
Cardboard Portfolio, per set. 2.00 


Prang “Color Discs” 

Hand-Colored Discs for Making “Color Charts ” 

These “Prang Color Discs” have been painted 
by hand and are accurate and scientific. With the 
aid of these inexpensive “Color Discs” any Art 
Supervisor, grade teacher, or student can make up 
an accurate and scientific Color Chart of great 
value. The discs are large in size (3 inches in 
diameter). 

Set No. 1. For Chart A. 

Containing the 12 Spectrum Colors in full in¬ 
tensity, with Neutral Gray. 

Set No. 2. For Chart B. 

Containing the 12 Spectrum Colors, and the 6 
leading colors in half intensity. 


Price, Set No. x.$0.50 

Price, Set No. 2.50 


't^ttt? DD A PHA/TP A XTV 1922 calumet ave., Chicago 

1 rill/ 1 Jrv 1M VJ tAIM I 30 IRVING PLACE, NEW YORK 




































“PRANG PRODUCTS” THAT YOU NEED 


“STIXIT” PASTE 

“The Stickiest Paste in Town” 

“Stixit” was the first improvement on “Library 
Paste” or “Flour Paste” in 25 years. The stationery 
trade, public schools and the homes had tolerated 
“Library Paste” because there was nothing better 
available. 

“Stixit” is a combination of paste and glue. 
It has all the qualities and advantages of 
"Library Paste”—it is smooth-flowing, of pleasant 
odor, and will not wrinkle the thinnest paper. In 
addition to this— IT STICKS! It is the most 
tenacious adhesive paste known, and is ideal for 
all construction work in public schools, photog¬ 
raphers’ studios and general home use. It is put 
up in frictioi.-top tin containers which have been 
white enameled inside to preserve the high quality 
of “Stixit.” 

It can also be had in enameled, collapsible tubes, 
with patent threadless vacuum caps, which pre¬ 
vent the paste from getting into the threads and 
sealing the tubes so they cannot be opened. 

Supplied in the following forms to meet every 


emergency: 




4-ounce tube... 

. . .$0.20 

i-quart can . . 

. . . .$1.20 

J^-pir.t can .. . . 

... .45 

1 gallon . 

.... 3.75 

i-pint can . 

. .. .75 




“A Short History of Art” 

By JULIA DE FOREST and 
CHARLES II. CAFFIN 

This book covers in a single volume the whole 
field of Art History in an authoritative and teach¬ 
able manner. It meets all requirements as a text 
book for High Schools, Normal Schools and Col¬ 
leges. It is also an admirable guide for the gen¬ 
eral reader. The historical facts are accurately 
and clearly presented. The 289 illustrations have 
been carefully selected and will be found invalu¬ 
able. 

This is generally considered the most modern 
and comprehensive single volume History of Art 
yet published. Everyone at all interested in Art 
should possess a copy. 758 pages. 

Price, $4.00 net; by mail, $4.25 


PRANG 

PINE NEEDLES 

A New Native Weaving Material 

For many years Art Workers in the South have 
been using the beautiful needles of the Long Leaf 
Southern Pine for weaving purposes, and many 
baskets and other Art objects made from them have 
sold at very large prices. 

The Prang Company is now able to supply these 
“Long Leaf Pine Needles,” carefully selected and 
sun cured, and packed in one pound packages for 
the use of Schools and Art Workers generally. 
With the aid of Colored Raffia, very beautiful bas¬ 
kets, trays, lamp shades, vases and other articles 
are produced. 


Illustrated Circular with Directions Free. 


Price, per lb. $0.70 

Raffia, Natural Color, per lb.75 

Raffia in Colors, per lb. 1.50 


“Cartoonist’s Art” 

By J. CAMPBELL CORY 

This is one of the most practical text books on the 
interesting subject of cartooning. It is written by a 
man who has made a national reputation for him¬ 
self in this field, and the text matter is explicit and 
very detailed. The book is profusely illustrated 
with progressive drawings showing technique, as 
well as with many illustrative cartoons by Mr. 
Cory and some of the most noted cartoonists of the 
country. 

This will be found a very valuable text book 
for Schools or for individual workers who wish to 
learn the cartoonist’s art. 

Price, $2.00; by mail, $2.25 


THE PRANG COMPANY 3 0 ~ 1 RVING M PLACE, E NEW I YORK 






















“PRANG PRODUCTS” THAT YOU NEED 


ART SIMPLIFIED 


A Book of Practical Art for Advertisers, Commer¬ 
cial Artists, Teachers and Students 


By PEDRO J. LEM OS 

Director Museum of Fine Arts, Stanford University, and 
JOHN T. LEMOS 

Art Department, San Francisco Polytechnic High School 


“Art Simplified” is what its title implies, i.e., a 
book of practical instruction. It is undoubtedly the 
best single volume for self-instruction in Commer¬ 
cial Art yet published. Teachers who wish to make 
their Art work conform to the requirements of en¬ 
graving shops, studios and general commercial de¬ 
mands will find this book invaluable. It should be 
in all public and private libraries. The Table of 
Contents suggests the field covered: 


Beginning the Drawing 
Lines in Drawing 
"General Form” in Drawing 
Drawing of Various Tones 
Light and Shade—The 
Shadows 

Light and Shade—The 
Highlights 
The Human Figure 
Action Drawing 
Perspective Drawing 
Composition 


Design Principles 
Design .Application 
Lettering—Capitals 
Lettering—Small Letters 
Pen and Ink Drawing 
Wash Drawing 
Planning of Advertisements 
The Use of Color 
Posters and Poster Stamps 
Short Cuts 
Working .Materials 


The book is illustrated with 22 full page plates, 
each plate containing from 10 to 25 progressive 
drawings showing how the work is developed; 
also a hand colored Chart. Bound in loose-leaf 
cover. Large quarto. 


Price, $4.00; by mail, $4.25 


“Theory 

of 


and Practice 
Color” 


By BONNIE E. SNOW and HUGO B. FROEIILICH 


Everyone is asking for scientific information re¬ 
garding the value and use of color as related to 
his dress, his home, or his business. The school 
teacher, the dressmaker, the decorator and the ad¬ 
vertiser are all asking for a simple, yet scientific 
color theory that is teachable and practical for 
daily use. This book by Miss Snow and Mr. Froeh- 
lich is the most important contribution on the sub¬ 
ject of color in many years. It contains a series of 
nine remarkable charts which have been hand- 
colored and which furnish color standards. The 
chapter headings include the following: 


“A Source of Color” 

“The Primary Colors” 

“The Binary Colors” 

“Color Values” 
“Complimentary Colors” 
“Analagous Colors” 

“Color Triads and Split 
Colors” 


“The Psychology of Color” 
“Color Harmonies in Dress 
Design” 

“Color Harmonies in In¬ 
terior Decoration” 

“Color Schemes in Commer¬ 
cial Design” 


Large quarto; price, per copy, $4.00; by mail, $4.25 


LETTERING 

(Second Edition) 

By THOMAS WOOD STEVENS 
Carnegie Institute, Pittsburgh 

Mr. Stevens’ book on “Lettering” has become 
generally recognized as the standard work on the 
subject. The book is designed for artists, crafts¬ 
men and students who have lettering to make and 
presents good standards of lettering in many styles, 
suitable for present demands. It is in no sense an 
historical treatise, but a practical Manual to form 
part of an artist’s working kit. 

The most noteworthy and valuable feature of 
Mr. Stevens’ book is the large size and the number 
of the full page plates. The list of no plates in¬ 
cludes the names of practically all who have dis¬ 
tinguished themselves in lettering in recent years, 
with a number of examples from ancient missals. 
Large quarto. 


“SPOONBILL PEN 
TABLET” 

By J. O. PETERSON 

Supervisor Penmanship, Public Schools, Tacoma, 
Washington 

This tablet contains a series of drills and exer¬ 
cises on the use of the “Spoonbill Lettering Pen,” 
which makes lettering almost as simple as writing. 
Thee pamphlet treats not only of the construction 
of the complete alphabet, but teaches “layouts” and 
other principles involved in show-card writing and 
the making of price cards, posters, etc. Throughout 
the tablet are interleaved ruled pages for drill 
work, which makes the tablet complete. 

Large quarto; price, per copy, $4.00; by mail, $4.25 


Price, $3.00; by mail, $3.25 


“SPOONBILL” LETTER I AlcTpENS 

Nos. 2, 3, 5, each per doz-■.$1.20 

^>£ed B^of Nos.’2, 3, 5 (4 each). 1.50 


THE PRANG COMPA 





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